I propose in this research that visual rhythm should be approached as an independent subject worthy of analysis and theorisation. Essential questions to be addressed in this respect include: how can we define visual rhythm? What are its elements? Can visual rhythm be considered a language that may be applied to all forms of art, from painting and sculpture to dance and narrative film? Does visual rhythm affect storytelling or is it just a choreography that follows narration? How might visual rhythm be linked with other concepts? My research proposal is a combination of theory and practice.   My drive to theorise visual rhythm stems from my experience working as an editor and filmmaker, as well as higher education lecturer in editing in the past four years. Since starting teaching in higher education I have worked on various projects including drama, documentaries and animation. I have gained experience teaching well-established film courses at both a postgraduate and undergraduate level. Through this wealth of experience, I have successfully theorised a practical function like film in a higher education context.   This combination of practical filmmaking and teaching has provided me with a understanding of visual rhythm from both a practical and theoretical perspective. With my PHD it is my aim to work towards a robust theoretical analysis of visual rhythm that will have practical applications in both the visual and performance arts.   My objective is to develop a new approach regarding the reading of the image in terms of theory and practice through the concept of visual rhythm, the main focus of my proposed thesis. A secondary objective is to bring a new perspective on the teaching of practical filmmaking and link areas between visual and performance arts, which have been traditionally approached as different fields of study.